The Orpheum Theatre has announced its 2024-2025 Broadway Season of eight shows. On the docket are MJ (September 17-22, 2024), Girl from the North Country (October 8 – 13, 2024), Moulin Rouge! The Musical (October 29 – November 3, 2024),Peter Pan (November 26 – December 1, 2024), Hamilton (February 18 – March 2, 2025), Some Like It Hot (April 8 – 13, 2025), Kimberly Akimbo (June 24-29, 2025), and The Wiz (July 22 – 27, 2025).
“I’m all excited about all of them,” says Brett Batterson, Orpheum president and CEO. “I can give you a reason why I’m excited about each one. I use a formula to basically make sure that I’m covering all my bases when I pick a season. I want to make sure I have a family show — Peter Pan. I want to make sure I have a classic, which is TheWiz this year. I want to make sure I have the newest and the best from Broadway, which we have a lot of this coming year, and then I like to make sure I might bring some shows that the people in Memphis would like to see.”
The Orpheum’s 96th season kicks off with MJ, the new Tony Award-winning musical centered around the making of Michael Jackson’s 1992 Dangerous World Tour. Girl from the North Country, which follows in October, reimagines 20 legendary songs of Bob Dylan to tell the story of a boarding house in Duluth, Minnesota in 1934. Then Moulin Rouge! The Musical will bring the magic of Baz Luhrmann’s film to the stage in a musical mash-up extravaganza. Peter Pan will close out the fall, but with a spin to the well-known musical that has been thrilling audiences of all ages for close to 70 years.
“I’m Flying.” (from left) Micah Turner Lee as John, Reed Epley as Michael, Hawa Kamara as Wendy, Nolan Almeida as Peter Pan in Peter Pan (Photo: Matthew Murphy)
“I’ve always loved the musical Peter Pan, but the portrayal of the Indians was always problematic,” says Batterson. “This particular Peter Pan, they hired a native playwright Larissa FastHorse to rewrite the Indian sections to make it respectful, and so I’m really excited to bring that and to see how that plays out.”
In the spring, Hamilton returns for a third time, to be followed by Some Like It Hot, a Prohibition story of two musicians forced to flee the Windy City after witnessing a mob hit. The 2023 Tony Award Best Musical winner Kimberly Akimbo about growing up and growing old takes the stage in June. Closing out the season is The Wiz, the groundbreaking twist on The Wizard of Oz that changed the face of Broadway.
Kyle Ramar Freeman as Lion, Nichelle Lewis as Dorothy, Phillip Johnson Richardson as Tinman, Avery Wilson as Scarecrow in The Wiz, 2023 (Photo: Jeremy Daniel)
Season ticket packages include seven shows and one optional show (Hamilton) that can be added to any package. Current season ticket holders can renew now. Ticket packages for new season ticket holders will be available starting Thursday, April 18th. New this season, those interested in becoming a season ticket holder can join a special priority list starting now until April 12th to secure access to a 48-hour presale ahead of the public on-sale. For more information about season tickets, visit orpheum-memphis.com/season. The public on-sale for individual shows and group tickets will be announced later.
Don’t expect this to be your usual theater review. Theater isn’t my first language. More importantly, I broke my live performances fast with a production of the smash hit Hamilton. There aren’t enough superlatives in the newest edition of Merriam-Webster’s dictionary to adequately describe the veritable feast my eyes and ears enjoyed at last night’s performance.
Were the songs well-written? Well, yeah — Lin-Manuel Miranda wrote them, for crying out loud! Were the costumes pleasing to behold? Yes, it’s freaking Hamilton. Was there an electricity in the packed venue? Yes, the audience was at a Grizzlies-playoff-game level of excitement.
The set design is versatile, and with a little rearranging of furniture and adjusting of lights, a new scene can be conjured. It could have been a black box, though, and I would have been just as entertained. If the cast didn’t bring their “A” game to a chilly Wednesday-night performance in Memphis, I certainly couldn’t tell. The technical skill it takes to pull off some of these songs is impressive, to say the least, but to deliver at that level while also infusing the performance with emotion and hitting all the choreography is another thing entirely.
Paul Oakley Stovall, playing the part of George Washington, was the standout performance for me. Stovall delivered his lines effortlessly, as if he were tossing them to the audience as an afterthought. It takes a lot of work to make something look that easy.
In short, believe the hype. Six years after its world premiere, Hamilton can still capture and hold an audience’s attention. But beware — viewing this production may cause side effects, like humming the refrain from “The Reynolds Pamphlet” long after the final curtain.
Hamilton is at the Orpheum Theatre through Sunday, January 2nd.
Austin Scott and Carvens Lissaint (Credit: Joan Marcus)
How does a bastard, orphan, son of a whore and a Scotsman, dropped in the middle of a forgotten spot in the Caribbean by Providence impoverished in squalor grow up to be a hero and a scholar? You know who we’re talking about — everyone’s favorite $10-bill founding father — Alexander Hamilton. And he’s coming to Memphis.
Yes, that’s right: Lin-Manuel Miranda’s Hamilton is coming to the Orpheum Theatre for 16 performances, December 21st through January 2nd. If you haven’t been able to snatch up some highly coveted tickets, producer Jeffrey Seller and the Orpheum have announced a digital #HAM4HAM lottery for 40 $10-tickets for each performance. The first lottery has opened for the performances December 21st-26th, and it will close at noon on Thursday, December 16th. Subsequent digital lotteries will begin on each Friday and close the following Thursday for the upcoming week’s performances.
To enter, download the official Hamilton app (available for all iOS and Android devices). Once in the app, find the lottery icon, scroll to “Memphis,” choose your choice performance day(s)/time(s), and sign up with your email address. Easy-peasy. Only one entry per person, and repeat entries and disposable email addresses will be discarded.
Winners will receive email and mobile push notifications between 1 p.m. and 4 p.m. every Thursday for the upcoming week’s performances. Winners will have two hours to claim and pay for their ticket(s). Up to two tickets can be purchased, and tickets are non-transferable.
For more information on the lottery or to purchase tickets, visit orpheum-memphis.com. Check the official Hamilton channels and orpheum-memphis.com for late release seats which may become available at short notice.
Vermont native Alice Hasen has been a fixture on the Memphis music scene since 2016, and even longer in the region, having originally moved to Clarksdale, Mississippi from the Northeast. That was where the classically-trained violinist helped found Blackwater Trio, who mix folk and classic-rock-influenced originals. Here in the big city, she founded Alice Hasen and the Blaze to better focus on her own originals (as we covered in this Memphis Flyer feature). But her latest project, just in time for the patriotic fervor of the Fourth of July, is a tribute to another songwriter: Lin-Manuel Miranda.
That name is well known to any fan of the musical Hamilton, and indeed, Hasen is among the many millions who have been carried away by that production’s musical and historical milieu. On July 1st, she released a set of songs on her YouTube channel that she calls The Hamilton Sessions.
She describes it as “a nerdy passion project” and explains its origins in the regular live-stream performances she began under quarantine.
“Last year, I arranged and performed the majority of Act 1 of Hamilton on my Fiddler’s Friday live stream, on solo violin and loop pedal. Since these streams were some of my most popular, I decided to enlist the help of Helena-based filmmaker Nolan Dean (who made the video for “Ghosts in the Water”), to film my adaptations of five songs from the musical.
“Unedited, live takes filmed on an empty warehouse floor in April 2021, the videos capture the authentic, earnest spirit of the musical. Each song is performed on violin and loop pedal, with occasional help from an octave pedal.”
The result is a perfect complement to your Fourth of July weekend, should you care to tune out the fusillades of explosives outside and dwell for a moment on the reason for the season. Below, we present Hasen’s version of “History Has Its Eyes On You.” Visit her YouTube channel to hear her other covers from Hamilton: “My Shot,” “Dear Theodosia,” “Stay Alive,” and “Yorktown.”
There’s no denying that 2020 was an unprecedented year, so I’m doing something unprecedented: combining film and TV into one year-end list.
Steve Carrell sucking up oxygen in Space Force.
Worst TV:Space Force
Satirizing Donald Trump’s useless new branch of the military probably seemed like a good idea at the time. But Space Force is an aggressively unfunny boondoggle that normalizes the neo-fascism that almost swallowed America in 2020.
John David Washington (center) and Robert Pattinson (right) are impeccably dressed secret time agents in Tenet.
Worst Picture: Tenet
Christopher Nolan’s latest gizmo flick was supposed to save theaters from the pandemic. Instead, it was an incoherent, boring, self-important mess. You’d think $200 million would buy a sound mix with discernible dialogue. I get angry every time I think about this movie.
We Can’t Wait
Best Memphis Film: We Can’t Wait
Lauren Ready’s Indie Memphis winner is a fly-on-the-wall view of Tami Sawyer’s 2019 mayoral campaign. Unflinching and honest, it’s an instant Bluff City classic.
Grogu, aka The Child, aka Baby Yoda
Best Performance by a Nonhuman: Grogu, The Mandalorian
In this hotly contested category, Baby Yoda barely squeaks out a win over Buck from Call of the Wild. Season 2 of the Star Wars series transforms The Child by calling his presumed innocence into question, transforming the story into a battle for his soul.
Lin-Manuel Miranda’s Hamilton
Most Inspiring: Hamilton
The year’s emotional turning point was the Independence Day Disney+ debut of the Broadway mega-hit. Lin-Manuel Miranda’s hip-hop retelling of America’s founding drama called forth the better angels of our nature.
Film About a Father Who
Best Documentary: Film About a Father Who
More than 35 years in the making, Lynne Sachs’ portrait of her mercurial father, legendary Memphis bon vivant Ira Sachs Sr., is as raw and confessional as its subject is inscrutable. Rarely has a filmmaker opened such a deep vein and let the truth bleed out.
Cristin Milioti in Palm Springs
Best Comedy: Palm Springs
Andy Samberg is stuck in a time loop he doesn’t want to break until he accidentally pulls Cristin Milioti in with him. It’s the best twist yet on the classic Groundhog Day formula, in no small part because of Milioti’s breakthrough performance. It perfectly captured the languid sameness of the COVID summer.
Soul
Best Animation: Soul
Pixar’s Pete Docter, co-directing with One Night in Miami writer Kemp Powers, creates another little slice of perfection. Shot through with a love of jazz, this lusciously animated take on A Matter of Life and Death stars Jamie Foxx as a middle school music teacher who gets his long-awaited big break, only to die on his way to the gig. Tina Fey is the disembodied soul who helps him appreciate that no life devoted to art is wasted.
Jessie Buckley
Best Performance: Jessie Buckley, I’m Thinking of Ending Things
Buckley is the acting discovery of the year. She’s perfect in Fargo as Nurse Mayflower, who hides her homicidal mania under a layer of Midwestern nice. But her performance in Charlie Kaufman’s mind-bending psychological horror is a next-level achievement. She conveys Lucy’s (or maybe it’s Louisa, or possibly Lucia) fluid identity with subtle changes of postures and flashes of her crooked smile.
Isiah Whitlock Jr., Norm Lewis, Delroy Lindo, Clarke Peters, and Jonathan Majors in Da 5 Bloods.
MVP: Spike Lee
Lee dropped not one but two masterpieces this year. Treasure of the Sierra Madre in the jungle, the kaleidoscopic Vietnam War drama Da 5 Bloods reckons with the legacy of American imperialism with an all-time great performance by Delroy Lindo as a Black veteran undone by trauma, greed, and envy. American Utopia is the polar opposite; a joyful concert film made in collaboration with David Byrne that rocks the body while pointing the way to a better future. In 2020, Lee made a convincing case that he is the greatest living American filmmaker.
Rhea Seehorn and Bob Odenkirk in Better Call Saul
Best TV: Better Call Saul
How could Vince Gilligan and Peter Gould’s prequel to the epochal Breaking Bad keep getting better in its fifth season? The writing is as sharp as ever, and Bob Odenkirk’s descent from the goofy screwup Jimmy McGill to amoral drug cartel lawyer Saul Goodman is every bit the equal of Bryan Cranston’s transformation from Walter White to Heisenberg. This was the season that Rhea Seehorn came into her own as Kim Wexler. Saul’s superlawyer wife revealed herself as his equal in cunning. If she can figure out what she wants in life, she will be the most dangerous character in a story filled with drug lords, assassins, and predatory bankers.
Michael Stuhlbarg and Elisabeth Moss in Shirley.
Best Picture: Shirley
Elisabeth Moss is brilliant as writer Shirley Jackson in Josephine Decker’s experimental biographical drama. Michael Stuhlbarg co-stars as her lit professor husband, Stanley Edgar Hyman, who is at once her biggest fan and bitterest enemy. Into this toxic stew of a relationship is dropped Rose (Odessa Young), the pregnant young wife of Hyman’s colleague Fred (Logan Lerman), who becomes Shirley’s muse/punching bag. If Soul is about art’s life-giving power, Shirley is about art’s destructive dark side. Shirley is too flinty and idiosyncratic to get mainstream recognition, but it’s a stunning, unique vision straight from the American underground.
For 18 years, Methodist Healthcare has produced a benefit luncheon. According to Bob Plunk, director of stewardship at the organization, it is a great fall tradition that is a bit late this year. It worked out fine though. The timing helped secure Tony and Grammy award-winning performer Leslie Odom Jr. as this year’s speaker.
“We’ve had a lot of great speakers in the past, but this is the first year we’ve had an entertainer who will entertain us,” says Plunk. “Leslie will sing three songs — hopefully from Hamilton or his new Christmas album.”
This year’s event is really important. The funds will benefit Methodist’s frontline workers, who have sacrificed so much fighting the COVID-19 pandemic.
Methodist Healthcare Foundation
Leslie Odom Jr.
“Our nurses and hospital staff have sacrificed personal and family time,” Plunk sympathizes. “We will be doing — and have been doing — all we can for them until this crisis is over.”
There are several ticket levels to join the conversation and help the staff. Register to attend for $25 and receive live, virtual viewing access for one household. A premium ticket is only $75, and you will receive live, virtual viewing access for one household in addition to a $20 gift card to a local restaurant and choice of either Leslie Odom Jr.’s book Failing Up or his new CD. All purchases are 100 percent tax deductible.
You won’t want to miss your opportunity to ask Odom questions, hear about his life and career, and enjoy his gift of music while helping others.
First, the confession: Before watching the film of the Broadway show now streaming on Disney+, I had never seen Hamilton. I had added the cast recording to my iTunes library, where it languished after one perfunctory listen. It’s not that I don’t like musicals. On the contrary, I’m much more into musicals than most middle-aged white guys; I’d much rather go to a musical than a football game. I would have loved to have seen Hamilton live on Broadway, but the truth is I was too broke to afford a pair of $500 tickets. When the touring company came to the Orpheum, I came up empty in the press pass lottery.
Maybe I could have scraped together the dough, but I wasn’t motivated to, because as a passionate student of American history, I’ve never been a big fan of Alexander Hamilton. The founder of the country’s first central bank and probable closeted royalist has always come across as an ambitious schemer to me, even as I generously quoted Publius, the pen name he used while writing the bulk of the Federalist Papers. For me, Hamilton has always represented those who love America more for its capitalism than for its democracy. The penniless immigrant from the Caribbean turned self-made statesman was ripe for a reputation renovation, but it was his status as proto-capitalist that allowed Hamilton the musical to see the light of day. If you don’t believe that’s true, let me tell you about my thwarted plans for an epic musical biography of five-time socialist presidential candidate Eugene V. Debs. “Wall Street thinks you’re great,” sings Aaron Burr (Leslie Odom Jr.). “You’ll always be adored by the things you create.”
Lin-Manuel Miranda as Alexander Hamilton and Phillipa Soo as Eliza Hamilton
But it is Hamilton’s moral ambiguity that makes him such a rich character in the hands of Lin-Manuel Miranda. There’s a lot of sappy, second-rate musical theater, which hits big on the strength of melody and sentiment. (Andrew Lloyd Webber, I’m looking at you.) Hamilton is the opposite. Part of Broadway’s cultural function has traditionally been to assimilate different popular music traditions, and Hamilton’s integration of hip-hop with show tunes is the perfect example. Miranda uses the lyrical density to weave a decade-spanning story of wartime heroism, political intrigue, and personal ambition. Rap cyphers turn out to be the ideal format to dramatize George Washington’s confrontational cabinet meetings.
Manuel’s music and story sit among the greatest of Broadway history. It’s easy to craft inspirational songs about revolutionary fervor — just look at Les Misérables. But creating a song about the ugly political wrangling that comes after a successful revolution is something else entirely. The first act of Hamilton is filled with bangers like “History Has Its Eye on You,” but the depth of Manuel’s genius is revealed in the second act’s “The Room Where It Happens.” Sung by Burr, the story’s heel (and a right bastard in real life), it’s a show-stopper about the creation of a national banking system and the geographical placement of Washington, D.C. Who even knew such a thing was possible?
(left) Leslie Odom Jr. as Aaron Burr
Now, the prediction. In a few years, once we’ve fought COVID-19 to a draw and film production can resume, The House of Mouse is going to drop $100 million to make a blockbuster version of Hamilton. They’ll film in Independence Hall (the room where it happened) and “Guns and Ships” will be staged at a lavishly recreated Battle of Yorktown. But it won’t have a tenth of the power of the version that just dropped on Disney+.
Thomas Kail, who directed both the Broadway musical and the film, uses techniques pioneered by Jonathan Demme in Stop Making Sense, cutting together footage captured over three nights of shows at the Richard Rogers Theatre in June 2016. The original cast had been the toast of the town for a year at that point, and the show had just set records at the Tonys and was about to take home a Pulitzer. From the first close-up of Miranda as Hamilton, backed by a chorus singing “What’s your name, man?,” it’s clear that these performers are on fire. Tony winner Renée Elise Goldsberry as Hamilton’s sister-in-law Angelica, roars onto the stage for her introduction in “The Schuyler Sisters.” Christopher Jackson as George Washington visibly chokes back sobs when the crowd leaps to their feet for “One Last Time.” After the duel that claims Hamilton’s life, the fires of victory turn to ashes in the mouth of Odom as Burr. No soundstage-bound film will ever match the blood-and-guts heroism of these glorious humans facing a full house on a Friday night.
Renée Elise Goldsberry (center) as Angelica Schuyler
Hamilton bowed on Broadway in August 2015, three months after the decade’s other towering masterpiece, Mad Max: Fury Road, hit movie theaters, and only a few weeks after Donald Trump announced his presidential campaign. Like Fury Road, the cascading catastrophes that began in 2016 have deepened Hamilton’s meaning. For all the flaws of the Founding Fathers — and they had many — their experiment in government by the people, for the people has endured and brought hope to the world. Hamilton lived at a moment when the old order was breaking down and an opportunity for a new, more just alignment of power became possible. 2020 now looks like one of those times. In Hamilton’s day, the young Republic was threatened by the personal ambitions of powerful men. So, too, is it in our day. In Manuel’s telling, Hamilton’s ambition is both his driving force and tragic flaw. Nevertheless, he recognized the dangers of a president driven only by the will to power when he swallowed his pride and endorsed his longtime rival in 1800. “When all is said and done/Jefferson has beliefs/Burr has none.”
History Has Its Eyes on You: Hamilton Bows on Disney+
Spoiler alert: We’ve known Hamilton was going to be part of the Orpheum’s 2018-2019 season for a while now. Now we know the rest of the story — and there are some nice surprises.
From the media release:
‘Hamilton’ is coming! Orpheum Unveils 2018-19 Broadway Season. (8)
LOVE NEVER DIES September 4-9, 2018
This story of boundless love, full of passion and drama, follows Andrew Lloyd Webber’s The Phantom of the Opera, one of the most successful musicals of all time, which has now been seen by more than 130 million people worldwide and is the winner of over 50 international awards. The ultimate love story continues in Love Never Dies, Andrew Lloyd Webber’s spellbinding sequel to The Phantom of the Opera.
The year is 1907. It is 10 years after his disappearance from the Paris Opera House and The Phantom has escaped to a new life in New York where he lives amongst the screaming joy rides and freak shows of Coney Island. In this new, electrically charged world, he has finally found a place for his music to soar,
but he has never stopped yearning for his one true love and musical protégée, Christine Daaé.
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SCHOOL OF ROCK October 9-14, 2018
SCHOOL OF ROCK is a New York Times Critics’ Pick and “AN INSPIRING JOLT OF ENERGY, JOY AND MAD SKILLZ!” (Entertainment Weekly). Based on the hit film, this hilarious new musical follows Dewey Finn, a wannabe rock star posing as a substitute teacher who turns a class of straight-A students into a guitar-shredding, bass-slapping, mind-blowing rock band. This high-octane smash features 14 new songs from ANDREW LLOYD WEBBER, all the original songs from the movie and musical theater’s first-ever kids rock band playing their instruments live on stage. Vanity Fair raves, “FISTS OF ALL AGES SHALL BE PUMPING!”
‘Hamilton’ is coming! Orpheum Unveils 2018-19 Broadway Season. (6)
LES MISÉRABLES November 27-December 2, 2018 (SEASON OPTION)
Cameron Mackintosh presents the new production of Alain Boublil and Claude-Michel Schönberg’s Tony Award-winning musical phenomenon, Les Misérables, direct from an acclaimed two-and-a-half-year return to Broadway. Set against the backdrop of 19th-century France, Les Misérables tells an unforgettable story of heartbreak, passion, and the resilience of the human spirit. Featuring the beloved songs “I Dreamed A Dream,” “On My Own,” “Stars,” “Bring Him Home,” “One Day More,” and many more, this epic and uplifting story has become one of the most celebrated musicals in theatrical history. With its glorious new staging and dazzlingly reimagined scenery inspired by the paintings of Victor Hugo, this breathtaking new production has left both audiences and critics awestruck. “Les Miz is born again!” (NY1).
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WAITRESS January 15-20, 2019
“THE WOMEN OF WAITRESS ARE CHANGING BROADWAY!” (Time Magazine). Brought to life by a groundbreaking all-female creative team, this irresistible new hit features original music and lyrics by 6-time Grammy® nominee Sara Bareilles (“Brave,” “Love Song”), a book by acclaimed screenwriter Jessie Nelson (I Am Sam), choreography by Lorin Latarro (Les Dangereuse Liasons, Waiting for Godot) and direction by Tony Award® winner Diane Paulus (Hair, Pippin, Finding Neverland). “It’s an empowering musical of the highest order!” raves the Chicago Tribune. Inspired by Adrienne Shelly’s beloved film, WAITRESS tells the story of Jenna – a waitress and expert pie maker, Jenna dreams of a way out of her small town and loveless marriage. A baking contest in a nearby county and the town’s new doctor may offer her a chance at a fresh start, while her fellow waitresses offer their own recipes for happiness. But Jenna must summon the strength and courage to rebuild her own life. “WAITRESS is a little slice of heaven!” says Entertainment Weekly and “a monumental contribution to Broadway!” according to Marie Claire. Don’t miss this uplifting musical celebrating friendship, motherhood, and the magic of a well-made pie. www.WaitressTheMusical.com
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ON YOUR FEET! February 12-17, 2019
From their humble beginnings in Cuba, Emilio and Gloria Estefan came to America and broke through all barriers to become a crossover sensation at the very top of the pop music world. But just when they thought they had it all, they almost lost everything. ON YOUR FEET! takes you behind the music and inside the real story of this record-making and groundbreaking couple who, in the face of adversity, found a way to end up on their feet. Directed by two-time Tony Award® winner Jerry Mitchell (Kinky Boots), with choreography by Olivier Award winner Sergio Trujillo (Jersey Boys) and an original book by Academy Award® winner Alexander Dinelaris (Birdman), ON YOUR FEET! features some of the most iconic songs of the past quarter-century — and one of the most inspiring stories in music
history.
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FIDDLER ON THE ROOF March 19-24, 2019 (SEASON OPTION)
“An entirely fresh, funny, and gorgeous new production. A REASON FOR CELEBRATION!” – New York Magazine.
Tony®-winning director Bartlett Sher and the team behind South Pacific, The King and I and 2017 Tony-winning Best Play Oslo, bring a fresh and authentic vision to this beloved theatrical masterpiece from Tony winner Joseph Stein and Pulitzer Prize winners Jerry Bock and Sheldon Harnick. The original production won ten Tony Awards, including a special Tony for becoming the longest-running Broadway musical of all time. You’ll be there when the sun rises on this new production, with stunning movement and dance from acclaimed Israeli choreographer Hofesh Shechter, based on the original staging by Jerome Robbins. A wonderful cast and a lavish orchestra tell this heartwarming story of fathers and daughters, husbands and wives, and the timeless traditions that define faith and family. Featuring the Broadway classics “Tradition,” “If I Were a Rich Man,” “Sunrise, Sunset,” “Matchmaker, Matchmaker” and “To Life,” FIDDLER ON THE ROOF will introduce a new generation to this uplifting celebration that raises its cup to joy! To love! To life!
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ANASTASIA June 4-9, 2019
Inspired by the beloved films, the romantic and adventure-filled new musical ANASTASIA is on a journey to Memphis at last! From the Tony Award®-winning creators of the Broadway classic Ragtime, this dazzling show transports us from the twilight of the Russian Empire to the euphoria of Paris in the 1920s, as a brave young woman sets out to discover the mystery of her past. Pursued by a ruthless Soviet officer determined to silence her, Anya enlists the aid of a dashing conman and a lovable ex-aristocrat. Together, they embark on an epic adventure to help her find home, love, and family. ANASTASIA features a book by celebrated playwright Terrence McNally, a lush new score by Stephen Flaherty (music) and Lynn Ahrens (lyrics) with direction by Tony Award® winner Darko Tresnjak.
‘Hamilton’ is coming! Orpheum Unveils 2018-19 Broadway Season.
HAMILTON July 9-28, 2019
HAMILTON is the story of America’s Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington’s right-hand man during the Revolutionary War and was the new nation’s first Treasury Secretary. Featuring a score that blends hip-hop, jazz, blues, rap, R&B, and Broadway, HAMILTON is the story of America then, as told by America now.
Methodist Healthcare Foundation 
Orpheum Theatre Group